When Roberto Pontual decided to include five works by Ana Mercedes Hoyos in his exhibition Arte Agora III. América Latina: Geometría Sensivel1 in 1978, the first person surprised by this selection was the artist herself. Some critics of the time, including Marta Traba, also expressed a certain strangeness at the inclusion of Ana Mercedes within the geometric discourse proposed by the critic from Rio de Janeiro. What was the reason for the simultaneous strangeness of the critic and the artist? What ultimate reasons could accompany them in that reciprocal confession that is now being discovered for the first time with the publication of a long and unpublished interview carried out just one year after the opening of the exhibition?
